Bob

ON Christmas Eve, 1956, a 15-year-old boy heads due south on a five-hour Greyhound Bus journey from his home in Hibbing, Minnesota.

Arriving in the state capital, Saint Paul, he meets up with two summer camp friends and they go to a shop on Fort Road called Terlinde Music.

Styling themselves as The Jokers, the fledgling trio record a rowdy, rudimentary 36-second rendition of R&B party hit Let The Good Times Roll and a handful of other covers.

The boy, with his chubby cheeks and hint of a rock and roller’s quiff, leads the way on vocals and piano.

Already enthralled by popular sounds of the day from Elvis Presley to Little Richard and the rest, he is now in proud possession of a DIY acetate — his first precious recording.

His name is Robert Allen Zimmerman, Bobby to his family and friends.

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Less than seven years later, on October 26, 1963, as Bob Dylan, he takes to the stage in the manner of his folk hero Woody Guthrie, now adopting an altogether more lean and hungry look.

Acoustic guitar and harmonica are his only props as he holds an audience at New York City’s prestigious Carnegie Hall in the palms of his hands.

He performs his rallying cries that resonate to this day — Blowin’ In The Wind, The Times They Are A-Changin’, A Hard Rain’s A-Gonna Fall.

He calls out the perpetrators of race-motivated killings with The Lonesome Death Of Hattie Carroll and Only A Pawn In Their Game.

He dwells on matters of the heart by singing Don’t Think Twice, It’s All Right and Boots Of Spanish Leather.

His 1956 schoolboy shindig and the Carnegie Hall concert, presented in full for the first time, bookend the latest instalment in Dylan’s endlessly captivating Bootleg Series.

Titled Through The Open Window, it showcases an artist in a hurry as he sets out on his epic career.

“I did everything fast,” he wrote in his memoir, Chronicles Vol.1, about his rapid transformation. “Thought fast, ate fast, talked fast and walked fast. I even sang my songs fast.”

But, as he continued: “I needed to slow my mind down if I was going to be a composer with anything to say.”

Among the myriad ways he achieved his stated aim, and then some, was by heading to the quiet surroundings of New York Public Library and avidly scouring newspapers on microfilm from the mid-1800s such as the Chicago Tribune and Memphis Daily Eagle, “intrigued by the language and the rhetoric of the times”.

He’d fallen under the spell of country music’s first superstar Hank Williams — “the sound of his voice went through me like an electric rod”.

Dylan affirmed that without hearing the “raw intensity” of songs by German anti-fascist poet-playwright Kurt Weill, most notably Pirate Jenny, he might not have written songs like The Lonesome Death Of Hattie Carroll.

Then there was Mississippi Delta bluesman Robert Johnson, who Dylan likened to “the scorched earth”. “There’s nothing clownish about him or his lyrics,” he said. “I wanted to be like that, too.”

‘Did everything fast’

We’ll hear more later about the man considered to be his primary early influence, Woody Guthrie, the “Dust Bowl Balladeer” who wielded a guitar emblazoned with the slogan “This machine kills fascists”.

And about leading Greenwich Village folkie Dave Van Ronk, known as the “Mayor Of MacDougal Street”, who had Dylan’s back from the moment he first saw him sing.

On two occasions in recent years, I’ve had the privilege of talking to Joan Baez, the unofficial “Queen” to Dylan’s “King” of the American folk scene in the early Sixties.

She championed him as he made his way, frequently bringing him on stage, their duets on his compositions like With God On Our Side revealing rare chemistry.

They also became lovers as Bob’s relationship with Suze Rotolo, the girl on the cover of the Freewheelin’ album, crumbled.

“He was a phenomenon,” Baez told me in typically forthright fashion. “I guess somebody said, ‘There’s this guy you gotta hear, he’s writing these incredible songs.’

“And he was. His talent was so constant that I was in awe.”

A leading figure in the civil rights movement, who marched with Martin Luther King, Baez added: “It was a piece of good luck that his music came along when it did. The songs said the things I wanted to say.”

But she finished that reflection by saying, tellingly: “And then he moved on.”

For Dylan, now 84, has forever been a restless soul, “moving on” to numerous incarnations — rock star, country singer, Born Again evangelist, Sinatra-style crooner, old-time bluesman, you name it.

In the closing paragraph of Chronicles, he admitted: “The folk music scene had been like a paradise that I had to leave, like Adam had to leave the garden.”

But it is that initial whirlwind period, 1956 to 1963, centred on bohemian Greenwich Village and the coffee shops where young performers got their breaks which forms Volume 18 of the Bootleg Series.

Through The Open Window is available in various formats including an eight-CD, 139-track version, and has been painstakingly pieced together by co-producers Sean Wilentz and Steve Berkowitz.

And it is from Wilentz, professor of American history at Princeton University and author of the liner notes accompanying this labour of love, that I have gleaned illuminating insights.

I can’t think of too many modern artists of his stature, if any, who developed that rapidly

Sean Wilentz

He begins with the arc of Dylan’s development, first as a performer, then as a songwriter, during his early years.

Wilentz says: “He came to Greenwich Village in 1961 with infinite ambition and mediocre skills. By the end of that year, he had learned how to enter a song, make it his own, and put it over, brilliantly.

“By the end of 1962, he had written songs that became immortal, above all Blowin’ In The Wind and A Hard Rain’s A-Gonna Fall.

“By the time of the Carnegie Hall concert in 1963, the capstone to Through The Open Window, his songwriting had reached the level we can recognise, that would eventually lead to the Nobel Prize.

“And his performance style, for the thousands in that hall, was mesmeric. I can’t think of too many modern artists of his stature, if any, who developed that rapidly.”

One of the show’s striking aspects is the lively, often comical, between-song banter. (Yes, Dylan did talk effusively to his audiences back then. Not so much these days.)

In order to assemble Through The Open Window, Wilentz and Berkowitz had “more than 100 hours of material to draw on, maybe two or even three hundred”.

Their chief aim was to find a way to best illuminate “Bob Dylan’s development, mainly in Greenwich Village, as a performer and songwriter”.

But, adds Wilentz: “Several factors came into play — historical significance, rarity, immediacy and, of course, quality of performance.

‘Good taste in R&B’

“We hope, above all, that the collection succeeds at capturing the many overlapping levels — personal, artistic, political and more.”

Though noting Dylan’s inspirations, Woody, Elvis and the rest, Wilentz draws my attention to “a bit of free verse” written by Bob in 1962 called My Life In A Stolen Moment, which suggests nothing was off limits.

“Open up yer eyes an’ ears an’ yer influenced/an’ there’s nothing you can do about it.”

This is our cue to take a deep dive into the mix of unheard home recordings, coffeehouse and nightclub shows as well as studio outtakes from Dylan’s first three albums for Columbia Records — his self-titled debut, The Freewheelin’ Bob Dylan and The Times They Are A-Changin’.

Of the first track, that primitive take on Let The Good Times Roll, Wilentz says: “Dylan and the other two were obviously enthusiastic, and they had good taste in doo-wop and R&B.

“But if you listen closely, you can hear Dylan, on piano, calling things to order and pushing things along, the catalyst, the guy we know from other accounts who was willing to take more risks onstage.”

I ask Wilentz what he considers the most significant previously unreleased discoveries and he replies: “Most obviously Liverpool Gal from 1963, as it’s a song even the most obsessive Dylan aficionados have known existed but had never heard.

“He only recorded it once, at a friend’s party, and it’s stayed locked away on that tape until now.

Dylan was producing so much strong material that some of it was inevitably laid aside

Sean Wilentz

“While not Dylan at his peak, it’s a fine song. It’s significant lyrically, not least as testimony to his stay in London at the end of 1962 and the start of 1963. That stay had a profound effect on his songwriting, and one gets a glimpse of it here.”

Also included is near mythical Dylan song The Ballad Of The Gliding Swan, which he performed as “Bobby” in BBC drama Madhouse On Castle Street during his trip to Britain.

The only copy of the play set in a boarding house was junked by the Beeb in 1968 but this 63-second audio fragment survives.

Of even earlier recordings, Wilentz says: “I’m drawn to Ramblin’ Round.

“Although known (in his own words) as a Woody Guthrie jukebox, Dylan has never released a recording of himself performing a Guthrie song.

“Here he is, in an outtake from his first studio album, handling a Guthrie classic, and with a depth of feeling that shows why his earliest admirers found him so compelling.”

Wilentz considers other treasures: “There’s an entire 20-minute live set from Gerdes Folk City from April, 1962, concluding with Dylan’s first public performance of Blowin’ In The Wind.

“Then there are two tracks of singular historic importance, the first known recordings, both in informal settings, of two masterpieces, The Lonesome Death Of Hattie Carroll and The Times They Are A-Changin’.”

If these versions shed fresh light on classics, let’s not forget the great Dylan songs that didn’t make it on to his albums, so great was the speed he was moving.

Does Wilentz find it staggering that songs like Let Me Die In My Footsteps and Lay Down Your Weary Tune were discarded?

“Yes and no,” he answers. “Yes, because these are powerful songs that were left largely unknown for years.

“No, because Dylan was producing so much strong material that some of it was inevitably laid aside.

‘Literary genius’

“Sometimes intervening factors kicked in. Take the four songs that, for business and censorship reasons, got cut from Freewheelin’ and replaced with four others.

“The album was actually better in its altered form, including songs like Girl From The North Country.

“But that’s how Let Me Die In My Footsteps was lost, along with a lesser-known song I love that we’re happy to include, Gamblin’ Willie’s Dead Man’s Hand, as well as an amazing performance of Rocks And Gravel.”

So, we’ve heard about songs but who were the key figures surrounding Dylan during his formative years?

Wilentz says: “Among the folk singers, Van Ronk most of all, and Mike Seeger, about whom he writes with a kind of awe in Chronicles.

“There was the crowd around Woody Guthrie, including Pete Seeger (‘Mike Seeger’s older brother,’ he calls him at one point) and Ramblin’ Jack Elliott.”

He singles out producer John Hammond, “for signing him to Columbia Records and affirming his talent.

“But most important of all there was Suze Rotolo, who was a whole lot more, to Dylan and the rest of the world, than the girl on the cover of The Freewheelin’ Bob Dylan.”

Finally, I ask Wilentz why the singer felt uncomfortable at being labelled king of the folk movement, “the voice of a generation” if you like.

“People misread Dylan from all sides,” he argues. “Never a protest singer in the mould of Guthrie or Seeger, even though he worshipped Guthrie and admired the left-wing old guard by the time he turned up.

“But Dylan wasn’t one of them, though he sympathised, in a humane way, with victims of injustice.”

Dylan’s work springs from a matrix that is emotional, filtered through his literary genius

Sean Wilentz

Wilentz believes the recent biopic A Complete Unknown, with Timothee Chalamet making a decent fist of portraying the young Dylan, “is a little misleading”.

He says: “It wasn’t Dylan’s ‘going electric’ that pissed off the old guard and their younger equivalent as much as his moving beyond left-wing political pieties.

“Hence the song My Back Pages, from 1964: ‘Ah but I was so much older then/I’m younger than that now.’”

Wilentz concludes: “Dylan’s work springs from a matrix that is emotional, filtered through his literary genius.

“It was impossible for someone like him, living through those two years (1962-63), not to respond to the politics in an artistic way.

“How, if you were Bob Dylan, could you not respond to the civil rights struggle, the killing of Medgar Evers (Only A Pawn In Their Game) or Hattie Carroll, as well as the spectre of nuclear annihilation?

“Dylan had a lot to say, but he was never going to be the voice of anyone but himself.”

Maybe he’d already explained himself on Don’t Think Twice, It’s Alright:

“When your rooster crows at the break of dawn

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Look out your window and I’ll be gone.”

BOB DYLAN

Through The Open Window
The Bootleg Series Vol.18

★★★★★

Thirty paintings by the late artist — and PBS staple — Bob Ross are heading for auction beginning Nov. 11. American Public Television, which syndicates programming to public stations across the country, is staging the auction in Los Angeles through Bonhams. APT has pledged to donate 100% of the profits to beleaguered public television stations nationwide.

“Bonhams holds the world record for Bob Ross, and with his market continuing to climb, proceeds benefiting American Public Television, and many of the paintings created live on air — a major draw for collectors — we expect spirited bidding and results that could surpass previous records,” said Robin Starr, general manager, Bonhams Skinner, in a statement.

The auction house established its record in August when it sold two of Ross’ mountain-and-lake scenes from the early 1990s for $114,800 and $95,750, respectively. Bonhams said it could not yet provide an estimate on the worth of the 30 works coming up for auction.

The first three paintings will go on the block at Bonhams in Los Angeles as part of its California & Western Art auction. The remaining 27 will be sold throughout 2026 at Bonhams salesrooms in New York, Boston and L.A.

The news comes as public broadcasting faces unprecedented challenges to its survival. In July, Congress voted to cut $1.1 billion in federal funding for the Corp. for Public Broadcasting, which was founded in 1968 and helps fund PBS, NPR, as well as 1,500 local radio and television stations. The cuts were encouraged by President Trump, who derided the organization for spreading “woke” propaganda.

The private, nonprofit corporation soon after announced that it would close. The majority of its staff was dismissed at the end of last month, and a bare-bones transition team remains through January to wrap up unfinished work.

Without CPB, educational programming like “The Joy of Painting” with Bob Ross will have an uphill battle finding the support it needs.

Known for his cloudlike halo of curly brown hair, soothing voice and infectious love of the art form as shown on his signature show, the artist became a mainstay in American households across 400-plus episodes and more than a decade on the air.

With its wholesome content and relaxed pace, his was the kind of show that defined PBS. Hopefully, his work can help keep the lights on at the stations that helped gain him a cultlike following.

I’m arts and culture writer Jessica Gelt, and I’m the proud owner of a Bob Ross Chia Pet head. Here’s your arts and culture news for the week.

On our radar

Kai A. Ealy stars in “Joe Turner’s Come and Gone” at A Noise Within

(Daniel Reichert)

Joe Turner’s Come And Gone
Gregg T. Daniel continues his reinvestigation of August Wilson’s American Century Cycle with a production of what is arguably the finest work in the playwright’s 10-play series. Set in a Pittsburgh boardinghouse in 1911 during the Great Migration, “Joe Turner’s Come and Gone” focuses on the spiritual crossroads of Black Americans who are being reminded at every turn that their freedom comes with a prohibitive cost. The sixth Wilson production at A Noise Within in this seasons-long retrospective should be a standout: It’s one of the great American plays of the 20th century. — Charles McNulty
Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday-Oct. 17; opening night, 7:30 p.m. Oct. 18; through Nov. 9. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org

Tavares Strachan, “Six Thousand Years,” and “The Encyclopedia of Invisibility,” 2018, mixed media

(Johnna Arnold / © Tavares Strachan)

Tavares Strachan: The Day Tomorrow Began
Bahamian-born New York artist, whose immersive solo exhibition “Magnificent Darkness” filled the Hollywood branch of Marian Goodman Gallery last year, makes multidisciplinary art that seeks to amplify notable events and people — especially related to exploration, from deep-sea diving to outer space — that are often sidelined in standard cultural histories. Strachan, a 2022 MacArthur Foundation fellow, once shipped a 4.5-ton block of ice from the Arctic to the Bahamas via FedEx. We’ll see what might arrive at Wilshire Boulevard. — Christopher Knight
11 a.m.-6 p.m. Monday, Tuesday and Thursday; 11 a.m.-8 p.m. Friday; 10 a.m.-7 p.m. Saturday; closed Wednesday; through March 29, 2026. Los Angeles County Museum of Art, BCAM Level 2, 5905 Wilshire Blvd. lacma.org

Alexander Shelley conducts the Pacific Symphony Friday-Sunday in Costa Mesa.

(Curtis Perry)

Alexander Shelley conducts the Pacific Symphony
At 45, the British conductor has a seemingly full and far-fledged plate: music director of the National Arts Center Orchestra in Ottawa; principal associate conductor of the Royal Philharmonic Orchestra in London; and artistic and music director of Artis-Naples and the Naples Philharmonic in Florida. Next year, the plate becomes fuller and further-fledged when he becomes music director of the Pacific Symphony. This fall, however, Shelley makes his debut as music director designate by showcasing works bursting with color — Mongomery’s “Starburst”; Arturo Márquez’s “Concert for Guitar Mystical and Profane” with Pablo Sáinz-Villegas as soloist; and Rimsky Korsakov’s “Scheherazade.” Shelley returns in November with Ravel’s glorious ballet score “Daphnis and Chloe,” the perfect enchanting complement to San Diego Symphony’s “L’Enfant,” for wrapping up the Ravel year, the 150th anniversary of the French composer’s birth having been in March. — Mark Swed
8 p.m. Thursday-Oct. 18. Renée and Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa. pacificsymphony.org

The week ahead: A curated calendar

FRIDAY

The American Contemporary Ballet dances to Shubert’s score for “Death & the Maiden.”

(Victor Demarchelier)

Death and the Maiden
American Contemporary Ballet, under the direction of Lincoln Jones, dances to a live performance of Schubert’s score, complete with opera singers; plus “Burlesque: Variation IX.”
8 p.m. Friday and Saturday; Thursday performances Oct. 23 and 30; through Nov. 1. ACB, Bank of America Plaza, 330 S. Hope St. #150, downtown L.A. acbdances.com

Installation view, Derek Fordjour: “Nightsong,” Sept. 13-Oct. 11, 2025.

(Jeff McLane / David Kordansky Gallery)

Nightsong
Times video intern Quincy Bowie Jr. recently visited artist Derek Fordjour’s sensorial experience at Mid-City’s David Kordansky Gallery. “In a time where many feel silenced, and afraid to speak up, Fordjour creates a space of darkness where truth can be revealed, heard and felt,” wrote Bowie. “‘Nightsong’ creates a unique space where the Black voice and its many songs are centered.” The free exhibit closes tonight.
6-10 p.m. David Kordansky Gallery, 5130 W. Edgewood Place. davidkordanskygallery.com

Mexican singer Lucía performs Friday at the Nimoy.

(Shervin Lainez)

Lucía
The enchanting Mexican singer mixes traditional American jazz and Latin folk in her eponymous debut album, released earlier this year.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Mascogos
Jose Luis Valenzuela directs the world premiere of playwright Miranda González’s drama revealing the untold stories of Mexico’s Underground Railroad.
Final preview, 8 p.m. Friday; opening night, 8 p.m. Saturday; 8 p.m. Thursday-Saturday; 4 p.m. Sunday, through Nov. 9. Los Angeles Theatre Center, 514 S. Spring St., downtown L.A. latinotheaterco.org

People in the Dark: An Immersive Ghost Story
A Lost Legends Ghost Tour goes frighteningly awry, placing the audience face-to-face with Hollywood’s haunted past in this enveloping theatrical experience from Drowned Out Productions.
7-11:40 p.m., with start times every 20 mins. Friday; 6-10:40 p.m., with start times every 20 mins. Saturday and Sunday (also Thursday, Oct. 16), through Oct. 31. 1035 S. Olive St., downtown L.A. tickettailor.com

Grand Kyiv Ballet performs “Swan Lake” Friday at the Ebell Wilshire.

Grand Kyiv Ballet
This touring company of Ukrainian dancers is temporarily based out of the International Ballet Academy in Bellevue, Wash., while Russia continues its war with Ukraine. The troupe brings Tchaikovsky’s timeless ballet “Swan Lake” to Mid-City in a graceful performance sure to soothe even the most restless soul. (Jessica Gelt)
7 p.m. Wilshire Ebell Theatre, 4401 W 8th St, Los Angeles. ebellofla.org

SATURDAY
Corey Helford Gallery
A trio of strikingly distinct shows with a global sweep opens Friday. In the main gallery, “The Weight of Us,” a duo exhibition featuring solo works from Nigerian artists Arinze Stanley and Oscar Ukonu explores interconnectedness, and the complex interplay of individual and collective narratives. “Where Petals Dance,” features the work of Japanese artist aica in Gallery 2. The major exhibition featuring Latvian-born contemporary surrealist painter Jana Brike, “When I Was a River,” debuts in Gallery 3.
Noon-6 p.m. Tuesday-Saturday, through Nov. 15. Corey Helford Gallery, 571 S. Anderson St. #1, Los Angeles. https://coreyhelfordgallery.com/

Vicky Chow
CAP UCLA and Piano Spheres present new music pianist Vicky Chow performing the West Coast premiere of Tristan Perich’s “Surface Image.”
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Gracias Gustavo Community Block Party
Hosted by Aundrae Russell of KJLH, this outdoor celebration features performances by DJ Aye Jaye, live art by Hannah Edmonds and Israel “Seaweed” Batiz, Mariachi Tierra Mia, poet Aletha Metcalf-Evans, Versa-Style Street Dance Company, YOLA at Inglewood Jazz Ensemble, Sherie, muralist ShowzArt — “The Art Jedi,” D Smoke and the Inglewood High School Marching Band, plus activities, food trucks and more.
10 a.m.-4 p.m. Judith and Thomas L. Beckmen YOLA Center, 101 S. La Brea Ave., Inglewood. laphil.com

Institute of Contemporary Art, Los Angeles
An open house kicks off four new exhibitions: Sandra Vásquez de la Horra, “The Awake Volcanoes”; Samar Al Summary, “Excavating the Sky”; Liz Hernández, “Donde piso, crecen cosas (Where I step, things grow)”; and AoA x IAO, “I Smell LA.”

4-8 p.m. Friday. Noon-6 p.m. Wednesday; Noon-7 p.m. Thursday; Noon-6 p.m. Friday; 11 a.m.-6 p.m. Saturday-Sunday; closed Mondays, Tuesdays and public holidays. Institute of Contemporary Art, Los Angeles, 1717 E. 7th St., Arts District, downtown L.A. theicala.org

Sleep Token performs at the Reading Music Festival, England, in 2023.

(Scott Garfitt / Invision / Associated Press)

Sleep Token
Sleep Token is by some measures the biggest heavy-rock band in the world right now. Its 2025 LP, “Even in Arcadia,” demolished streaming records for a metal act, reaching well beyond the genre’s cantankerous core fan base, which has mixed feelings about Sleep Token’s pop chart success, to say the least. (No one is more skeptical about the band’s new fame than its cryptically anonymous front person Vessel: “Right foot in the roses, left foot on a landmine,” he sings in “Caramel,” “They can sing the words while I cry into the bass line.”) The band’s high-drama live shows are where Sleep Token really shines, though, as in this return to L.A. for a set that finally provides the scale its runic masks, robes and necrotic body paint have always called for. (August Brown)
8 p.m. Crypto.com Arena, 1111 S. Figueroa St., downtown L.A. cryptoarena.com

SUNDAY
Paul Jacobs
The Grammy-winning organist performs Bach’s “The Art of Fugue.”
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Julie Andrews, Christopher Plummer and the Von Trapp family in a scene from the 1965 film “The Sound of Music.”

(20th Century Fox)

The Sound of Music
A 70mm screening of the 1965 Robert Wise-directed movie musical starring Julie Andrews and Christopher Plummer that won five Oscars, including best picture.
3 p.m. Sunday. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd., Los Angeles. academymuseum.org

TUESDAY
L.A. Phil Gala: Gustavo’s Fiesta
Gustavo Dudamel conducts the orchestra in a few of his favorite things: De Falla’s “Three-Cornered Hat,” selections from Dvořák’s “New World” Symphony (featuring musicians from YOLA, Youth Orchestra Los Angeles), Beethoven’s Seventh, “Fairy Garden” from  Ravel’s Mother Goose  Suite and Revueltas’ “Night of Enchantment.”
7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

THURSDAY
Draw Them In, Paint Them Out
Trenton Doyle Hancock confronts the work of painter Philip Guston in this dual exhibition that examines the role the artist plays in the pursuit of social justice.
Noon-5 p.m. Tuesday–Friday; 10 a.m.-5 p.m. Saturday–Sunday. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. skirball.org

Yunchan Lim
For his Disney Hall debut, the youngest-ever winner of the Van Cliburn International Piano Competition performs Bach’s “Goldberg Variations,” alongside “…Round and velvety-smooth blend…,” a new piece, written especially for the pianist, by Korean composer Hanurij Lee.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

San Cha, photographed in 2020, performs Thursday-Saturday at REDCAT.

(Mel Melcon / Los Angeles Times)

San Cha
The L.A.-based composer, musician and performance artist presents “Inebria Me,” a new experimental opera that reimagines the melodrama of telenovelas through a queer, genre-bending lens as adapted from her 2019 album, “La Luz de la Esperanza.” In Spanish with English supertitles. Postshow Q&A with San Cha on Oct 17.
8 p.m. Thursday, Oct.18. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Culture news and the SoCal scene

Bisserat Tseggai, Claudia Logan, Victoire Charles and Jordan Rice, clockwise from top left, of “Jaja’s African Hair Braiding.”

(Christina House / Los Angeles Times)

Jaja’s African Hair Braiding
Currently staging its L.A. premiere at Center Theatre Group’s Mark Taper Forum, “Jaja’s” is an uproarious workplace comedy that packs a serious political punch. I had the pleasure of interviewing four of the lead actors during a roundtable at a downtown rehearsal room a few days before the run started. The women talked about their love of the show and of the playwright, Jocelyn Bioh. They also discussed the country’s fraught political climate and how it’s laying waste to the idea of the American Dream — the one that has attracted immigrants seeking a better life for their families for hundreds of years. Their thoughts have a direct throughline to the show, which takes place on a single hot day at a West African salon in Harlem.

Times theater critic Charles McNulty caught the opening Sunday night and wrote a glowing review of the touring production, which he noted was “bursting with gossip, petty fights, audacious fashion, dazzling hair styles, full-body dancing and uncensored truth about the vulnerable lives of immigrant workers.”

Hammer biennial
Made in L.A. 2025 has officially opened at UCLA’s Hammer Museum and I recently toured the highly anticipated seventh edition of the biennial exhibition in the company of curators Essence Harden and Paulina Pobocha. The pair told me interesting backstories about the 28 participating artists, including that the four large sculptures of doors made by Amanda Ross-Ho represent a door at the nursing home where her father lived.

Artist Alake Shilling stands in front of a 25-foot inflatable psychedelic bear driving a convertible titled “Buggy Bear Crashes Made in L.A,” at the Hammer Museum in Westwood.

(Genaro Molina / Los Angeles Times)

I also ate lunch with the charming and kind artist Alake Shilling, whose adorable sculptures of cuddly animals featuring melancholy faces are part of the show. I trailed Shilling as she watched a test inflation of a 25-foot sculpture titled “Buggy Bear Crashes Made in L.A.,” which will be on display on an outdoor pedestal on Wilshire Boulevard through March. I made this fun video with the help of video editor Mark Potts.

LACMA Gifts
Big news keeps coming out of the Los Angeles County Museum of Art, which announced Wednesday that it had been gifted more than 100 works of Austrian Expressionism worth “well over” $60 million by the family of Otto Kallir, a renowned art dealer who immigrated to America in 1938 after the German Reich annexed Austria. The art will be transferred to the museum over the next several years and includes the museum’s first paintings by Gustav Klimt, Egon Schiele and Richard Gerstl. The exciting news comes two months after LACMA was gifted its first paintings by Vincent van Gogh and Édouard Manet by the Pearlman Foundation.

Best Friends Forever
Finally, I got an update from the “satirical activist” artists with the Secret Handshake. They told me they had once again received a permit to reinstall their controversial Trump-Epstein statue (dubbed “Best Friends Forever”) on the National Mall. “Just like a toppled Confederate general forced back onto a public square, the Donald Trump Jeffrey Epstein statue has risen from the rubble to stand gloriously on the National Mall once again,” a rep for the Secret Handshake wrote in an email.

“Arabesque over the Right Leg, Left Arm in Front,” by Edgar Degas

(Norton Simon Museum)

Norton Simon acquires sculpture
The Pasadena museum announced the acquisition of a bronze sculpture by Edgar Degas titled “Arabesque over the Right Leg, Left Arm in Front.” The museum already holds more than 100 pieces by Degas in its collection, which is known as one of the largest public collection’s of the artist’s work in the world. “This significant acquisition, long sought after, completes a critical gap in the Museum’s renowned Degas collection,” a rep for the museum wrote in an email. The sculpture went on view in the museum’s 19th century wing late last week.

Mushroom Boat
Ever heard of a boat made out of mushrooms? Neither had I until someone told me about an exhibition at Fulcrum Arts in Pasadena called, “Sam Shoemaker: Mushroom Boat.” As the title implies, the artist built a kayak out of mushroom mycelium. He then proceeded to use the unusual vessel to cross the Catalina Channel — a total of 26 nautical miles. He chronicled his journey the whole way, and the results of that work are on display alongside the boat. It includes large-scale projections, time-lapse videos, and soundscapes from his sometimes wild and turbulent journey.

Los Angeles Ballet dancers in pointe shoes stretch before beginning rehearsals in 2015.

(Los Angeles Times)

An anniversary for Los Angeles Ballet
Los Angeles Ballet announced its 2025-26 season, which also happens to mark the company’s 20th anniversary, and its Music Center debut — “Giselle” at the Ahmanson Theatre in the spring. The season launches in December with LAB’s acclaimed annual presentation of “The Nutcracker” at Royce Hall and the Dolby Theatre. This season the company continues its residency at the Wallis Annenberg Center for the Performing Arts, and is set to stage a triple-bill anniversary production, “20 Years of Los Angeles Ballet,” featuring George Balanchine’s “Rubies,” Hans van Manen’s “Frank Bridge Variations,” and a third new work by Artistic Director Melissa Barak, who assumed her position in 2022.

K.A.M.P. fundraiser
The Hammer Museum is back this Sunday with its annual fundraiser — Kids Art Museum Project, better known as K.A.M.P. Tickets support the Hammer’s free year-round family programming. Each year, the museum shuts down on a Sunday and presents an art-filled wonderland for children and families, with interactive art stations created and helmed by participating L.A. artists, as well as a special reading room featuring well-known actors. This year’s readers will be actor Justine Lupe and baseball star Chris Taylor. Artists include Daniel Gibson, Sharon Johnston & Mark Lee, Annie Lapin, Ryan Preciado, Rob Reynolds, Jennifer Rochlin, Mindy Shapero, Brooklin A. Soumahoro and Christopher Suarez.

— Jessica Gelt

And last but not least

Everybody, it seems, loves Cyndi Lauper. Readers have been going absolutely bananas for Times pop music critic Mikael Wood’s engaging profile on the iconic, red-haired pop star in advance of her induction in the Rock & Roll Hall of Fame.

GET ready for all the laughs as our fave teller of ridiculous stories is back with a sure-fire hit.

Bathroom salesman Matt has lost his job, his home and his girlfriend Harriet.

1

So when he’s offered a new job that comes with a fab apartment, he hopes he’ll be able to win her back.

Except, maybe Harriet didn’t leave of her own accord at all. . .

10 lucky Fabulous readers will win a copy of this new novel in this week’s book competition.

To win a copy, enter using the form below by 11:59pm on October 18, 2025.

For full terms and conditions, click here.

A 10-second bit by ABC comedian Jimmy Kimmel plunged Walt Disney Co. into a full-blown crisis that rippled across America.

President Trump, the Federal Communications Commission chief and others were angered this month over Kimmel’s remarks about the Charlie Kirk shooting, which they said had suggested the suspect was a “Make America Great Again” Republican. Kimmel asserted Trump supporters were “trying to score political points” from the tragedy.

TV station groups pulled the program and Disney benched the comedian, sparking a bigger backlash. Protesters lit into the Mouse House for seemingly kowtowing to the Trump administration, consumers canceled Disney+ and Hulu subscriptions and more than 400 celebrities, including Tom Hanks, Jamie Lee Curtis and Lin-Manuel Miranda, signed a letter calling for a defense of free speech. Some investors bailed, briefly erasing nearly $4 billion in corporate market value.

Disney Chief Executive Bob Iger and his team turned the tide last week when they returned Kimmel to his late-night perch.

But the pressure on Disney’s top brass remains. Trump was not happy over Kimmel’s comeback, grousing that he may lob another lawsuit at ABC. In December, Disney agreed to pay $15 million to end a defamation suit Trump brought against the network and anchor George Stephanopoulos over misstatements.

And FCC Chairman Brendan Carr — who threatened ABC over Kimmel’s comments — isn’t backing down; he’s already opened one investigation into Disney and ABC for their diversity embrace.

“This [situation] isn’t going away anytime soon,” Nien-hê Hsieh, a Harvard Business School professor, said in an interview. “How it is managed certainly matters a lot.”

The Kimmel controversy exposed cracks at the Burbank company that has long meticulously managed its image. It also highlighted the fraught environment facing Disney’s next leader during a period of significant challenges for the entertainment juggernaut.

“Succession is difficult for any company — the stakes are high,” Hsieh said. “But Disney also is kind of a lightning rod that attracts criticism because of its brand and its prevalence and prominence.”

Iger, 74, is retiring for a second time in late 2026, when his contract expires. Within a few months, Disney’s board is expected to name a replacement — a pivotal decision for a company that has long struggled with succession.

Aside from the Trump administration, Disney’s next boss must navigate the shift to streaming, competition from tech giants, the rise of artificial intelligence, a potential economic slowdown and fragile geopolitics with a theme park in China and one planned for the Middle East. The new CEO also must try to keep Disney from again being drawn into America’s culture wars.

Disney Chief Executive Bob Iger is expected to retire at the end of 2026 after nearly 20 years leading the Burbank entertainment giant.

(Jay L. Clendenin / Los Angeles Times)

Four internal candidates are vying for the job, including Dana Walden, co-chairman of Disney Entertainment, who oversees television and streaming and managed the Kimmel crisis with Iger.

Josh D’Amaro, Disney’s theme parks and experiences chief, is viewed by many as the leading contender.

Also in the CEO mix are ESPN Chairman Jimmy Pitaro; and Disney Entertainment Co-Chairman Alan Bergman, who oversees movies, including the Marvel, Pixar and Star Wars franchises, and, in concert with Walden, entertainment streaming services.

“The next leader needs to be very attuned to how the company is perceived and valued by its customers and clients,” Hsieh said. “This is a moment for people to be very clear about their values.”

Disney’s values were questioned by many after the decision to yank Kimmel from the air.

As protesters buzzed around Disney’s Burbank headquarters and Kimmel’s darkened theater on Hollywood Boulevard, the voice of the company’s former chief rang out.

“Where has all the leadership gone?” Michael Eisner asked in a stinging Sept. 19 social media post. “If not for university presidents, law firm managing partners, and corporate chief executives standing up against bullies, who then will step up for the first amendment?”

Disney hadn’t formally addressed the situation. The only public message was a terse ABC statement on Sept. 17 — minutes after Iger and Walden moved to suspend the show: “ ‘Jimmy Kimmel Live’ will be pre-empted indefinitely.”

Kimmel was furious. It was about an hour to showtime and his studio audience was queued up outside the El Capitan Entertainment Centre. He had intended to clarify his words that night.

But Walden and Iger were worried the comedian was dug in, and his planned remarks would only inflame the situation.

Disney’s move to bench Jimmy Kimmel prompted protests, including days of demonstrations outside the El Capitan Entertainment Centre, where “Jimmy Kimmel Live!” is taped.

(Genaro Molina / Los Angeles Times)

What was initially viewed by Disney executives as a social media storm — vitriol from Trump supporters — had morphed into an existential threat for ABC when Carr, the FCC chairman, threatened to go after station licenses.

Carr urged other broadcasters to take a stand — a call heeded by Nexstar Media Group, which needs FCC approval for its proposed $6.2-billion takeover of a rival TV station owner, Tegna.

Nexstar pulled Kimmel’s program, followed by the politically conservative Sinclair Broadcast Group. The two companies own stations that provide 22% of ABC’s coverage.

Protesters called for a Disney boycott this month outside the darkened stage of ‘Jimmy Kimmel Live!’ The comedian returned Sept. 23.

(Juliana Yamada / Los Angeles Times)

ABC’s ambiguous seven-word statement suggested to many that Kimmel wasn’t returning.

“Great News for America: The ratings challenged Jimmy Kimmel Show is CANCELLED,” Trump wrote on his Truth Social platform that night. “Congratulations to ABC for finally having the courage to do what had to be done.”

Disney executives privately said they were simply hitting pause. ABC executives and talent were getting death threats, according to one insider who was not authorized to discuss the situation. Later, in Sacramento, a gunman fired three shots into the lobby of an ABC-affiliated station. No one was injured.

But Disney’s initial response was roundly criticized for being weak, an abdication of the 1st Amendment. “To surrender our right to speak freely is to accept that those in power, not the people, will set the boundaries of debate that define a free society,” Anna M. Gomez, the sole Democrat FCC commissioner, said in a statement.

Executives defended the ABC statement, noting that anything Disney had said at that moment could have exacerbated its troubles with the FCC and station groups. One insider added that company also needed time to weigh whether it was worth bringing back the show.

Iger and Walden held a Sunday sit-down with Kimmel on Sept. 21 to clear the air. The following day, Disney announced his show would return.

“It wasn’t a reaction to any regulatory threats or political threats — it was an editorial decision because we felt the comments were ill-timed and, thus, insensitive given the topic,” Horacio Gutierrez, Disney’s chief legal and compliance officer, said in an interview Monday. “We felt our responsibility was to avoid further inflaming the situation during a very delicate and emotional time for the nation and that couldn’t be achieved in the heat of the moment.”

Gutierrez said narratives about Disney’s motives were inaccurate.

“The guidance we were given by Bob as we were thinking this through was to do the right thing, and that’s what we did in both preempting the show and in putting it back on the air,” he said. “Other people can comment about what they would have done or said … but the reality is the action of the company speaks louder than any words.”

Brian Frons, a former senior ABC executive and a UCLA Anderson School professor, said the way the crisis was handled reflected Iger’s measured leadership style.

“This situation could have turned into a firefight with the [Trump] administration — a direct confrontation,” Frons said. “It could have been Florida-Chapek all over again.”

Disney’s last major public relations debacle was in early 2022, when former Disney CEO Bob Chapek tumbled into a political quagmire with Florida Gov. Ron DeSantis.

Disney belatedly opposed a Florida law banning school conversations about sexual orientation, the so-called Don’t Say Gay bill, prompting DeSantis to retaliate with a takeover of a Central Florida land-use board overseeing development around Walt Disney World.

Chapek’s shaky handling of the Florida dispute, which led conservatives to declare the company had become “woke,” was among the reasons Disney board’s fired him in November 2022, returning Iger to the top job.

Disney Chief Executive Bob Iger (left) and Bob Chapek (right) who served 2 1/2 years as chief executive. Chapek was removed in November 2022 to make way for Iger’s return.

(Business Wire)

Chapek had been Iger’s hand-picked successor but lasted in the job just 2½ years as pandemic dealt a crushing blow to theme parks, movie theaters and sporting events.

“In our instant-response culture, we want managers to have an immediate response and confrontation,” Frons said. “Sometimes, the instant solution might not be the best one.”

The Kimmel crisis and Chapek’s stormy tenure hover over succession.

Disney’s Achilles’ heel has long been its leadership handoffs. Over the years, Iger postponed several planned retirements, prompting at least one prospective successor, Tom Staggs, to exit the company in frustration.

The switch to Iger from Eisner 20 years ago was even more tumultuous, a move made to tamp down a shareholder revolt.

Before Iger was in the wings, Eisner recruited Creative Arts Agency co-founder Michael Ovitz — a debacle that ended in a court battle and a $140-million Disney payout.

Walt Disney Co. Chairman James P. Gorman is the former chief executive of Morgan Stanley.

(China News Service / China News Service via Getty Images)

Last year, Disney turned to James P. Gorman, Morgan Stanley’s former executive chairman, to oversee the succession process amid past criticism that some board members were too deferential to Iger. (A source close to the company disputed that characterization.)

Gorman became chairman of Disney’s board in January. He’s credited with orchestrating a smooth transition at the bank where he served as CEO for 14 years.

Disney’s board has said it would consider internal and outside candidates when determining who’s best equipped to lead the $206-billion company.

Walden was viewed as the early favorite, but some believe that Trump’s election last November might have changed that. The 60-year-old television executive has long been supportive of Democrat causes and is a friend of former Vice President Kamala Harris.

Walden joined Disney in 2019 after Disney swallowed Rupert Murdoch’s Fox entertainment properties, including the Fox television and movie studios and a controlling stake in Hulu. She oversees ABC, ABC News, Disney Channel, National Geographic and, with Bergman, the streaming services.

It’s not clear whether the Kimmel controversy helped or hurt her chances. By the end of last week, both Nexstar and Sinclair had abandoned their boycotts, returning the show to their ABC-affiliated stations.

“If this situation holds, Dana may have proved herself as a very effective crisis manager,” Frons said.

Clockwise from top left: Alan Bergman, Josh D’Amaro, Dana Walden and Jimmy Pitaro.

(Evan Agostini, Chris Pizzello and Richard Shotwell / Invision via AP)

D’Amaro, the parks and experiences chief, is thought to have an edge. Neither Disney nor the board have signaled that there is a front-runner.

The 54-year-old executive runs Disney’s biggest and most prosperous unit — theme parks, resorts, cruise lines and experiences, including video games. D’Amaro is an architect of Disney’s $60-billion campaign to expand and revitalize its parks and resorts and double the number of cruise ships.

The charismatic D’Amaro brims with enthusiasm for Disney where he’s spent most of his adult life — more than 27 years.

Bergman, 59, is a savvy executive who runs Disney’s film studios, its major creative franchises, as well as theatrical and streaming releases and marketing. He oversees Disney Music Group and its Broadway show unit.

And Pitaro, the Connecticut-based ESPN chief, has helped lead Disney’s push to streaming as the once lucrative cable business has contracted. The 56-year-old executive, a former consumer products and Yahoo executive, has managed Disney’s dealings with the NFL, NBA and Major League Baseball.

Some worry that none of the candidates will match Iger’s skills.

“This idea that you’re going to replace the CEO — a person who is at the height of their power — with somebody in a similar place is pretty hard,” Frons said. “Instead, you have to ask: Who is the person who can best position Disney for the future in all the businesses that are important today and might be important in the future?”

When the cast and crew of “Bob’s Burgers” gathered to celebrate the show’s milestone 300th episode earlier this month, two key figures were missing.

Creator Loren Bouchard and actor H. Jon Benjamin — who voices the “Bob” of the title — were unexpectedly waylaid by illness and travel troubles, respectively. It was a scenario that could have been an episode of the long-running adult animated series, down to the celebration’s setting, which took place in a room resembling the inside of the show’s titular hamburger joint.

The only thing missing was a musical interlude.

Centering a family that runs a restaurant, “Bob’s Burgers” kicks off its 16th season Sunday on Fox with its 300th episode titled “Grand Pre-Pre-Pre-Opening.” The milestone episode will take things back to before the Belcher’s opened their family eatery.

According to Bouchard, one of the questions the writers wanted to explore in this episode was “Why is Linda doing this?”

“Bob’s Burgers [the restaurant], it’s got his name in it, but we sense that he can’t do it without her,” Bouchard says. “[Bob] says that in the show, but what do we mean when we say that?”

The look to the past also shows Bob (Benjamin) and Linda (John Roberts) preparing to welcome their first child, Tina (Dan Mintz). The Belcher clan also includes Tina’s younger siblings Gene (Eugene Mirman) and Louise (Kristen Schaal).

“Grand Pre-Pre-Pre-Opening” is the 300th episode of “Bob’s Burgers.”

(20th Television / Fox)

Bouchard admits he is usually not one for celebrating episode counts — “It starts to feel a little bit like bulk pricing,” he jokes — but he recognizes that the longevity of the series is something special. “Bob’s Burgers” premiered in 2011.

“What you get with a show that lasts this long and has this many episodes is a different relationship with the fans,” Bouchard says. “You get to have a 15-year relationship. That’s like family. There are marriages that don’t last that long.”

Over the years, the show’s dedicated audience has seen “Bob’s Burgers” expand beyond television with the release of “The Bob’s Burgers Movie” in 2022 as well as a touring live show of comedy and music.

Bouchard explains that the show’s approach to these milestone episodes have been to “go small and deep” to avoid overstuffing them with fan service. They’ve treated the 100th, 200th and 300th episodes like a new pilot that centers the restaurant and family “in a very basic way” as if it were someone’s introduction to the series.

The 300th episode, written by Bouchard and Nora Smith, digs into the show’s core premise to reveal how Bob and Linda came to juggle a restaurant and a family at the same time.

“I started my family when I started ‘Bob’s,’ so it’s very personal to me,” Bouchard says. “I like the chaos and just audacious optimism that you could have children and start a doomed-to-fail, Hail Mary of a creative project at the same time. It’s why I like this family, that they did this too.”

To commemorate the milestone, Bouchard and the cast discussed, in their own words edited for clarity and length, “Bob’s Burgers’” status as a “comfort show,” the Belcher family dynamics, memorable episodes and more.

A comfort food

“Bob’s Burgers” cast members Larry Murphy, left, Dan Mintz, Kristen Schaal, Eugene Mirman and John Roberts at the Bento Box offices.

(Frank Micelotta / Fox)

It’s not rare for “Bob’s Burgers” to be described as a “comfort show” — something fans can turn on to unwind or fall asleep to. The cast attributes this to the show having real emotions that come from the heart.

“The sweetness of [their affection] being genuine, that’s the thing,” Mirman says. “It’s just a mix of warmhearted and funny and sort of grounded.”

“The jokes aren’t taking people down a notch,” Schaal says. “The show has always been in a lane that people are realizing they should come over to — the kind lane.”

Bouchard says that “it’s very touching and affecting” that audiences turn to the show for comfort but acknowledges it’s something he can’t focus on while the show’s in production.

Bouchard: I definitely don’t take it lightly. I don’t want to think about it while we’re making “Bob’s.” If I thought about it while we’re making it, I would I feel like there’s a scenario where I could mess it up. You don’t want to shoot for comfort show, you want to shoot for edgy, attention-grabbing. [Episodes with] act breaks and big closing numbers. I know people don’t mean, “I fall asleep when I see it for the first time.” They mean, “I put on episodes I’ve seen before and it’s comforting in a profoundly, sleepy way.” I think being an adult by definition means at the end of the day you need something to just transition so that you can fall asleep. I’m glad that “Bob’s” does that for people.

Roberts: We love how much comfort this brings to the world. We like being light and having a job in entertainment that makes people feel good — it makes the world a better place. That’s rare and we’re blessed and we’re grateful.

Dinner (musical) theater

Tina, left, Louise and Gene in an episode of “Bob’s Burgers.”

(20th Television / Fox)

According to Bouchard, the music on the show was ”a ’dare we dream’ type thing in the beginning.” But the reception to the show’s catchy ukelele-driven theme song made him feel like there was room to push the musical elements further, like having a unique end credits and outro song for each episode.

“This sort of flea market find, slightly childlike music felt to us like of the show, but the audience had to give us permission,” Bouchard says. “We had to go slowly to get that.”

Once they saw the audience was on board, he felt like the show had the go ahead to hit the ground running from putting musical moments within the stories to eventually having musical episodes. While it’s still something they take “moment by moment,” Bouchard says he’s “so glad that [the music is] part of what people seem to want from the show.”

Roberts: I think in the earlier seasons, we were more improvising and things like that. But now it’s very professional big songs. It’s fun. I’m impressed by everybody.

Mirman: I’m truly incapable of singing. So the way we do it for me is that the person who’s in charge of the music will sing one line and I will mimic it like nine times to the best of my ability. [Then] they splice together a child singing poorly that is still much better than me in real life. But it’s still very fun. It’s very fun to be challenged.

Mintz: I’m kind of in Eugene’s boat. I can’t remember pitch for very long after I hear it, so I do have to immediately hear it and immediately repeat it. But I’ve been surprised at how much I do enjoy it. You do it again and again, and then the final ones are like, “Now do it and don’t hold back.” And you feel a real singer for, like, one line. There’s also the no pressure of it because I’m singing as a person, as a character, who’s not a professional singer, so it doesn’t have to be that good.

Where’s the beef? Belcher family dynamics

The Belchers inside their restaurant.

(20th Television / Fox)

One thing that comes through in every episode of “Bob’s Burgers” is just how much the Belchers love each other.

“[Linda] is a mom that pays attention and is present and shows up for her children,” says Roberts, who draws from his own mother for his performance. “There’s a realness there and it’s very grounding for the show. … Linda’s gone a little crazy sometimes, but for the most part, it’s all very much stuff that you can relate to.”

Perpetually in the Belchers’ orbit is Teddy — handyman, loyal customer and Bob’s best friend.

“I think of Teddy as constantly trying to inject himself into the lives of the family that he doesn’t have,” says Larry Murphy, who voices Teddy. “The best part about that is that they might shake their heads [at him], but they always rise to the occasion and are supportive of the character.”

And as much as the Belcher children can tease or annoy each other at times, there is no doubt that they all genuinely care for one another too.

“There’s a sibling camaraderie that is really lovely,” Mirman says. “It reminds me of the camaraderie on TV and movies in the ‘80s. That era of the stuff I grew up watching.”

Schaal: I love how they enjoy each other’s company. They’re usually not trying to lose the other one. I mean, in some episodes, Louise is bothering Tina and we explore that. But in general, they hang out together, they play together. They’re not on their f— iPads, separate in their own worlds. They’re going on adventures. And at the end of the day, Louise has their back like no one else and she’ll fight for them.

Mintz: I think it’s great for Tina to be pulled out of her comfort zone by her siblings, even though she’s supposed to be the leader as the oldest. Those are some of the most fun episodes for me when Gene and Louise want to do something dangerous or against the rules or whatever. Tina’s anxious for some reason and keeps being like, “Well, we shouldn’t,” but she gets dragged along. There’s always some moment in every one of those where it’s like, ‘Wait, Jimmy Jr. will be there. OK, maybe I’m fine with this.’ I think Tina’s life would be a lot more boring if she didn’t have someone make her break the rules all the time.

Favorite flavors

Tina and Linda in “Bob’s Burgers.”

(20th Television/Fox)

Over the years, “Bob’s Burgers” has come to be known for its various holiday episodes for Halloween, Thanksgiving and Christmas that often rank among viewers’ favorites.

“I love on Thanksgiving when they play the marathon of stuff,” Roberts says.

But holidays aren’t the only flavor of memorable episodes. And even after 16 seasons, the cast says they are just as excited to flip through new scripts and record episodes together as they were when they started.

As for their favorites, Mintz says he enjoys “all the fantasy ones.” Murphy agrees.

Murphy: I like those episodes where the kids are each telling their own story — and it might not have happened. It just gets to not exist in the world of “Bob’s Burgers,” but it’s someone’s point of view telling a story, like when they built that giant robot [“The Handyman Can”]. Kind of a “Rashomon”-type idea.

Schaal: I like anything that’s emotional. If Louise ever gets to be emotional, I get excited. Even like the one where they’re looking for Bob’s mom’s grave [“Show Mama From the Grave”]. They’re going for something that is really sad, but doing it so well. I love those episodes.

Roberts: I think what’s really awesome is that there’s an individual episode for each character that’s genius. For me, I think “Lindapendent Woman” was an incredible episode. I just did an episode Holly Schlesinger wrote where it’s more about Linda and her past. We all got our turn at having incredible episodes.

Mirman: I agree with Kristen about the ones that have an emotional arc. There is a Christmas one [“The Plight Before Christmas”], where all three kids have an event and the parents understand they can’t make it to everything. Eventually Tina makes it to Louise’s poetry reading where she wrote two poems and one is really sweet and about the family. I’ve watched that episode a bunch.

Schaal: Going back to the story ones. The one about the chores [“Fight at the Not Okay Chore-ral”], where Louise is butting heads with Linda about doing chores and then they tell stories about being in a wild west town. That one I love because it was about this real conflict. And the funny thing is, my daughter has requested to watch that one several times. I think it’s because Linda breaks down and says, “I’m wrong, I give up,” and my kid is thrilled to see the mom say that.

We’re here, we’re gruyere, get used it

Teddy and Linda in an episode of “Bob’s Burgers.”

(20th Television / Fox)

“Bob’s Burgers” has often been hailed for its inclusivity. As a series living in “the kind lane,” the characters are accepted for who they are — even if there’s gentle ribbing at times.

“Nobody’s trying to change anyone,” Roberts says. “They’re just trying to make them better human beings.”

“And they don’t have to defend who they are,” adds Schaal. “There’s complete acceptance.”

At a time when trans and queer people are increasingly targeted by ring-wing politicians and activists through legislation and dehumanizing rhetoric — LGBTQ+-friendly shows such as “Bob’s Burgers” can, for some, feel like a refuge. Bouchard explains how the show’s approach to being inclusive is intentional.

Bouchard: One of the simple tricks that we do is you just do it. You don’t have to shine a light on it. What I think is interesting about acceptance and tolerance and inclusivity — all those things have become capitalized words, and they almost lose their value when they’re not just part of your daily life. Your storytelling has to be about something other than that. That’s not going to be as satisfying as just put it in the character and let it be their daily. They get up feeling accepting and inclusive and normalizing, and they go to bed that way. They don’t learn that f— lesson in the middle of a half-hour show. That’s fine that it exists. Maybe sometimes, as a culture, we need to all come together and learn a lesson. [But] “Bob’s” is in the business of not writing those episodes. We’re in the business of writing those characters without fanfare.

And I give credit to my parents. I think my sister and I were weird in the normal weird way — weird kids are normal. A lot of parents make room for that, and love their kids no matter how they express themselves as little kids. I guess some don’t, but I am glad to have come up in that. To me, it feels natural. To me, it’s not a stretch. The way to do it is to just live it, just be it, and assume that when it’s on paper and it seems normal to you, hopefully it’ll feel reassuring and comforting to other folks too.

Robert Barnett, a Washington attorney who represented powerful politicians and many of the biggest stars in TV news business, died Friday after a long, unspecified illness. He was 79.

Barnett’s death in a Washington hospital was confirmed by his wife, retired CBS News correspondent Rita Braver.

A longtime partner at the Washington law firm Williams & Connolly, Barnett was the go-to lawyer for politicians and public officials moving into private life. He helped procure multimillion-dollar book contracts for former Presidents Obama, Clinton and George W. Bush.

Barnett was a Democratic political insider as well. He would play opposing candidates in mock debates to help prepare the presidential tickets of Al Gore and Joe Lieberman in 2000, John Kerry and John Edwards in 2004, Hillary Clinton when she first ran for president in 2008, and Democratic vice presidential nominee Geraldine Ferraro in 1984.

“I baited [Ferraro] a lot and she got so angry with me that she frequently walked over to me and slugged me on the arm,” Barnett told CNN in 2008. “So I left the process black and blue.”

Barnett was also Bill Clinton’s debate sparring partner during the 1992 presidential campaign. He also advised the Clintons when White House aide and family friend Vince Foster killed himself in 1993 and when the world learned that Bill Clinton had an affair with White House intern Monica Lewinsky.

Barnett’s TV news client list included former NBC News anchor Brian Williams, “60 Minutes” correspondent Lesley Stahl, CNN’s Sanjay Gupta, Chris Wallace, NBC News correspondent Andrea Mitchell, and Jesse Watters and Peter Doocy at Fox News. He also represented his wife, whom he married in 1972.

Barnett also navigated Ann Curry’s messy exit from NBC’s “Today” in 2012.

As an attorney, Barnett was known for his ability to come up with deals tailored to the needs of his clients.

“Many of these people who come out of government have an enormous number of offers,” Barnett told the Financial Times in 2008. “The first thing we do is sit down and say: ‘What are your goals? Do you want to live here or there? You wanna make money or have fun?’”

One reason many clients gravitated to Barnett is that, unlike agents, he did not take a commission. They paid a high hourly rate for his services, not the traditional agent fees of 10% to 15% of salaries or book advances.

Barnett’s clients believed he gave them 100% regardless of their stature.

“Bob represented me in my negotiations with ABC and made me feel just as important as his more celebrated clients,” retired correspondent Judy Muller wrote on Facebook. “A really decent, smart man.”

The sentiment was shared by CBS News Executive Editor Susan Zirinsky.

“Every person who worked with Bob knew their secrets were safe,” Zirinsky said in an interview. “He was the ultimate protector.”

Barnett also drew praise from the companies that paid the lucrative contracts for his TV clients.

“His pristine integrity, wise counsel and knowledge of our business were an invaluable resource to me over the course of our 30-year relationship,” Suzanne Scott, chief executive of Fox News Media, said in a statement.

Barnett also represented bestselling authors James Patterson and Mary Higgins Clark.

Barnett was born in Waukegan, Ill., where his father operated the local Social Security office and his mother worked part time in a department store. He majored in political science at the University of Wisconsin and received a law degree from the University of Chicago.

He moved to Washington in the early 1970s. He clerked for Supreme Court Justice Byron White and worked as an aide to then-Sen. Walter Mondale of Minnesota. He joined Williams & Connolly in 1975, and was made a partner three years later.

In addition to his wife, he is survived by a daughter, Meredith Barnett; a sister; and three grandchildren.

The successor to Bob Costas as play-by-play voice on TNT’s Major League Baseball postseason games will be the same broadcaster who replaced the legendary Bob Miller in 2017 after Miller retired following a 44-year Hall of Fame career with the Los Angeles Kings of the NHL.

Yes, Alex Faust has experience replacing a titan of the airwaves.

Costas, of course, is another Hall of Famer, and he also retired after 44 years. His final MLB call was the 2024 American League Division Series in which the New York Yankees defeated the Kansas City Royals in four games.

Faust, 36, currently calls Friday Night MLB games streamed on Apple TV+. He also is the radio voice of the New York Rangers and has been part of hockey and tennis coverage at TNT Sports. Faust left the Kings in 2023 when their television deal with Bally Sports expired.

Costas will continue to appear on MLB Network but won’t do play-by-play. His most recent appearance on the airwaves was as a guest on the NPR news quiz “Wait, Wait, Don’t Tell Me” on Sept. 13.

After telling stories about not making his high school baseball team and recounting an embarrassing, mildly profane gaffe he made on air early in his career, Costas answered all three game show questions about the Emmy Awards correctly.

Costas joked that he had accomplished “the trifecta, the hat trick, the triple crown.” Host Peter Segal asked what the show should call it when someone goes 3 for 3. Costas laughed and replied, “The Costi.”

He probably should have an award named after him. Costas, 73, has received 29 Emmys and was the prime-time host of 12 Olympic Games from 1988 through 2016. He called three World Series and 10 MLB league championships.

Costas stepped down from MLB play-by-play in November, telling Tom Verducci of MLB Network that he had planned to retire for more than a year, saying, “I couldn’t consistently reach my past standard.”